 Cofan Hagan yn debyg 2009. Mae'r clynyddiaeth clynyddol yn ymddangos fel y cyfnodd, sy'n cyfnodd, fel y cyfnodd, o'r lluniau o'r clynyddol. Obama wedi'u cyfnodd. Rwy'n gweithio ar ymddangos gyda'r ysgol o'r anzail i'r cyfnoddau i'r cyfnoddau, gael eich cyfnoddau sy'n cyfnoddau, oedd yn 5 o 6 oeddiad. Rwy'n gweithio i'r cyfnoddau i'r cyfnoddau, Felly, mae'n rhaid i'r etymau ar hyn o'r gallu tych subrygiad ar gyfer ein bod yn bwyd. Ac rwyf wedi'i cyfnodd gyda siwtio ar gyfer y prysgwrs. Rwyf wedi'u cyfrifio o'r striwn i'r rhaglau yn y rhodd. Ond, eich llyfun o'r vihau advantages ac rwyf wedi nhw i chi. Rwyf wedi'u cyfrifio i mi ddweud y piataid i gael 29 yn ymwyf a rwyf wedi neb yn cyfrifio'r rydyn ni i'r dweud nad yna'u gilydd. Roeddwn i'n gwneud yw eu bydd am bwynt iawn. Ac y gallwn i'n gweithio i'w gwybod i'w boxau, sy'n cael ei fod yn y tiff yma, y gallwn i'n gweithio i'r gwybod, dyna'r gweithio ar y portol i'r cyfnod gyllideb gyda gyda'r kingdom. Mae'n gweithio yn newid y platform 9 i 3 cwrtos yn Cwng Cross. Mae'r gweithio'r gweithio y dyna'r gweithio'r gweithio yn gweithio'r gweithio ar y cyfrig sydd yma ac mae'r cyfrig sydd ar y gweithio'r gweithio. Mae'r gweithio yn gweithio ar y gweithio, ac yn ymweld yn yw'r realac sydd gweithio ar hynny. Rhywbeth yw'r hunnwau lleolol yn gweithio'r hunnwau. Rhywbeth yw'r unrhywbeth, y gallwn ar 60,000 rhywbeth gweithio, cerddw, lychio, gweithio, bynnwyr, gyda hunnwau lleolol. Mae'n golygu bod yn ymddi, mae'n gweithio a'r ffath. Felly mae'n gweithio i gyd yn ychydig o'r llwyffaeth, mae'n gweithio i ddau cyflenau. this builders. This bees that are responsible for looking off the babies. This guards, the scouts. There's all sorts of different sorts of functions. This she also researches to discover this something called Lazy bees. If you watch this kind of chaos of movement and follow the individual bees backwards and forwards, turns out that quite a high proportion of them are just walking backwards and forwards, walking backwards and forwards, holding a piece of paper under their arms, looking like they're busy. And no one really knows exactly what they're doing. Bees, as I said, communicate through scent, smell and sight. And the conversations they have aren't just with each other. It's also a conversation they have with plants, plants and flowers. So there's this magical experience you have if you get up early enough in the morning. You can see the enthusiasm among these creatures to get out and get going among the flowers. You see them lining up along the edge of the beehive, ready to go as soon as the temperature climbs up enough for them to go out and fly. Bees, when they fly to a flower, they see colours that we can only just imagine in our human worlds. They have 72 scent receptors, so they can taste the individual flowers, communicate exactly which flower they landed on to their sisters when they fly back to the hive and where it's been. So that flower is different from that flower. They have these hairs on their bodies, the kind of hairy creatures. Each hair is a kind of sensual organ for communicating with the world around them. So when a bee flies into a flower and pollinates it, the static electricity in that flower changes, and when she flies to the next one, she can actually feel on her body if another bee has been there recently. So you have to try and imagine what it's like for a bee in a city like Brighton or Copenhagen in the summer, the sun's shining. The smells and scents and colours are washing out of the plants as the trains go through the green corridors. How are the parks? What do the flower beds and gardens look like when you're in it? It's an incredibly rich world that these animals inhabit. And if you think bees are funky, you should meet the beekeepers. Beekeepers are mostly male. Honeybees are almost all female. Beekeepers are also furry in their own way, obviously kind of bearded. The first beekeeper I met, he told me the origin story of the honeybee. This is apparently true. If you go back in time, 100 million years, the world was basically black and white, the late Cretaceous. There were dinosaurs and volcanoes and bamboo and that kind of stuff. One day, the first primitive bee flew from the first primitive flower over to the next primitive flower and discovered a new kind of sexual relationship, pollination. If you look in the fossil record, you can see that from this black and white world in just a few tens of millions of years, everything that we associate with the richness and bounty of the world today so colour, taste, smell, all of the fruits, juicy strawberries and apples, all of the sticky things that sustain not just human life, but also the lives of all the other insects and animals and birds that survive on it, emerged out of that pollination, an enormous amount of productivity which turned the world on its head. It occurred to me when I found out about this that this is basically the model that we're all reaching after as a model that includes the partnership between bees and flowers. It's the pleasure. This is a sexual relationship. They're not doing this. We think that bees are being hardworking, but they're not doing it because they're working hard. They're doing it because it feels great. Anyone who's seen those kind of slow-motion pictures of flowers opening, you can't also imagine that it's not enormously pleasurable for the flower to be pollinated by a tickling bee coming inside it. So this is about pleasure. This is about productivity. This is about partnership. And it's about a form of production that doesn't erode and destroy the world as we do as human beings, but enriches it. And it's like this is a mirror to the world in which we live in now. It occurred to me that maybe the greatest challenge of our time today is to actually have these two worlds meet each other, is to actually find out how can we produce industries, how can we make things that enrich and enliven and make our world both socially and environmentally richer? This is not sustainability. This is beyond sustainability. Sustainability is about keeping things the same. This is about making things more colourful and juicier. And how do we get there from the world as it is today? I thought that I'd take this quite literally and decided to make an urban honey company in Copenhagen producing honey in the city. But before I tell you about how that went, I would like to give a bit of context. We all know about the wonderful Danish social democratic state. This is a system that has become significantly worse in the last 10 years, like a lot of the rest of Europe. There is a regime in Denmark at the moment that is tearing chunks out of the welfare system, that is pushing tens of thousands of people into poverty. The Danish government at the moment has a policy towards refugees and immigrants, which is basically to make his life as unpleasant and uncomfortable for them as possible. These policies are driven by an ideological belief in a lot of ways that the way in which we can get poor, sick, traumatised people to play a role in society is to force them to work, get them into jobs. It is in a world where 50% of jobs are vanishing as a result of technology, as we've heard today, a mindless utopia that they're trying to emphasise. So before I talk about my business, I think it's really important to emphasise here that as entrepreneurs we're given a platform and it's important that we use that platform to fight for a political framework which is fairer to these sorts of people. That means fair benefits. It means, as we talked about today, fighting and using our voice to say that we need some kind of universal basic income. As producers of physical products, we also have a huge opportunity. We have an opportunity to knock our customers. I don't know why they put this water here. That's the second I spill now. There's one left. We have a responsibility to our customers and our suppliers to knock them out of their silos, out of their social and political silos. Who makes this stuff? Where does it come from? Who is it? It doesn't matter if it's honey, if it's a biro, if it's your notebook, all these physical objects we surround ourselves in the world, they come from people and those people have names and faces and we need to show what those names and faces are. And finally, I think it's important that again and again we emphasise how important it is that the social and political side are the same, that these areas are linked. So I'll give you an example. This is Arith. He's one of our colleagues. He's a beekeeper, one of the three beekeepers we have working for us. He's from Syria. Arith came to Denmark two years ago. He came from Turkey, Greece, overland through Italy and arrived in Denmark. Arith was a beekeeper outside Aleppo in a small village for 17 years before he came to Denmark. When he first came into our office, he was presented by the Job Centre, he couldn't speak a word of Danish and he came in and we could see on his body that he had so much he wanted to express but couldn't, he just didn't have the vocabulary for it. And yet you could just see in his thumbs, in his hands the way he picked up and smelt the wax and the bees and the equipment that he had this sense of relief, this sense of familiarity, this sense of belonging back with the beekeepers. He's learned at Danish now and he is now responsible for looking after about 250 beehives over the whole of Copenhagen. They're on the roof of the city hall. They're on the roof of this amusement park. They're on water utilities. They're on big corporate businesses. Here he is at the airport. We work with both businesses and social projects. So businesses actually pay us to put bees on their rooftops in their car parks in bits of used land. And we use that money to train new beekeepers and work in other areas and conduct different sorts of events with that. Arif isn't just looking after the bees and producing this honey. He's also teaching and training. We think it's really important to involve all of the communities in the city in producing honey and working with the bees. So a rift together with an English woman, a Sudanese guy, has been teaching a group of 25 other refugees in a park in central Copenhagen. They come from Afghanistan, from Sudan, from Africa, from Bangladesh. And the bees they're looking for, looking after, are flying out from this park. They're flying, whether they like it or not, into the window boxes and parks, into people's gardens. They're pollinating their apples and strawberries and producing a honey that our project is then buying back and selling onwards to the people of Copenhagen. Put a wall around that, you fluckers. We're also working with... We're working with other community projects with formerly homeless. We've got projects in two houses, social housing estates and other deprived areas, bringing these people together to help them look after the bees. For these people, it's not a job. They're not going to be able to work as beekeepers, but it gives them a sense of belonging. It gives them a role in the community that we're able to symbolise with the honey that they produce. Honey is a wonderful, magical substance. We're also working with families and children. Kids get this stuff immediately, so when you bring groups of children into the factory, they can immediately see the connection between people, environment and bees. Like I said, honey, it's been like oil. You can make it into all sorts of other products. So we work with other local producers to make honey into ice cream, into candies, into beer and rum, you can see here. These are things that we sell to supermarkets and users to finance the project. But perhaps the thing that I love most about the project, I talked, starting off, talking about this kind of secret magical world that exists under the surface of our world as it is today, is that when you begin to produce honey over the whole city, you realise that every street, every garden, every window box, every park has its own taste and its own flavour. It's a taste and a flavour that contains the stories of the people who looked after the bees, the businesses that had them on their roofs, the people who planted the flowers. It's a taste and flavour that changes from year to year. So what you harvest on this date from this district this year will change the year after. It's a picture that changes constantly, shifting in colour and taste and flavour according to the flowers that we choose to produce. And results in this, I've just got four, but last year we had 65 different colours and different tastes of honey from the whole city. And when you bring all these things together, you get a whole different picture of what the city of Copenhagen looks like. And that's what we're trying to do in our project and that's why we say honey is something that you make together. Thanks.